Bogwoman is a film which presents the bloody human rights struggle experinced in the mostly Catholic Bogside distict of the Derry city of Northern Ireland throughout the 1960's, as witnessed by its heroine Maureen. In 1958, Maureen comes to Bogside, the handlemof hersuitcase held in one hand while with the other she clings to her little boy, to marry her future husband whom she assumes to have a reliable job and a house to take shelter in. Her dreams shattered upon the discovery thatr the future husband in question is in fact unemployed and homeless, Maureen tries to deal with poverty, with taking care of the children to whom she has to give birth in succession as Catholics consider birth control a sin, with a husband who is obsessed with dog races, a man who's word is law and who is so proud that he can't admit his illness, and with the police prtessure which makes itself felt everywhere. Mainly worried about bringing her children up in safety Maureentries to pass the border and go back when hell breaks loose, but she ultimatelyhas to face the problems of the society she lives in. Bogwoman is one of those films, many examples of which we have seen in recent yearslike In the Name of the Father, Some Mother's Son and Boxer focusing on the Ireland issue whichin itself has transformed into amajor school of cinema. On the other hand, bogwoman, in contrast with films of the same category, chooses to expose how the Ireland issue has seeped into the tissue of daily life, and how it affects ordinary people. Bogwoman through its naive heroine who has to explain to her children why Catholics are not sufficiently represented in the parliament instead of telling them fairy tales, who learns it was in fact police truncheons that have covered in blood the woman friend whom she took to be beaten by her husband, and who meets gas-masked police terror in the bart where she decides to go to with difficulty, fearing what people will say, that even the most ordinary acts have their portion of the political unrest that’s lived through. The film, successfully blending interior shots with documentary images, manages to convey its purpose with a neat cinematic language, even though it shifts to a cheap symbolism from time to time. The good performances of Rachel Dowling as Maureen and Peter Mullan as her husband are also among the pluses of the film. Tuna Erdem

Tom Collins

Tom Collins

Peter Robertson

Mary Finlay

De Facto Films

Darren McHugh
Maria MacDermottore
Noelle Brown
Peter Mullan
Rachael Dowling
Sean McGinley

Fiachra Trench

4th Festival on Wheels